The Scholarship of Electronic Literature

Electronic Literature is an emergent literary form and academic field, whose genesis in the U.S. can be traced, as mentioned elsewhere on this website, to the work by Michael Joyce, afternoon: a story. As a form, it can be described as "literary works created with the use of a computer for the electronic medium such that they cannot be experienced in any meaningful way without the mediation of an electronic device" (Grigar, "The Present [Future] of Electronic Literature," 128-9); as a field, it is building through online journals and sites, like Hyperrhiz, ebr, Hermaneia, the Iowa Review Web, Leonardo Electronic Almanac, Turbulence, Drunken Boat, and Authoring Software; a growing body of print publications like N. Katherine Hayles' Electronic Literature: New Horizons for the Literary, Jörgen Schäfer and Peter Gendolla's Beyond the Screen: Transformation of Literary Structures, Interfaces, and Genres, Eduardo Kac's Media Poetry, and C.T Funkhouser's Prehistoric Digital Poetry; and organizations and initiatives like the Electronic Literature Organization in the U.S., ELMCIP in Europe, and "Creative Nations" in Australia, all of which undertake a variety of activities, such as sponsoring academic meetings, publishing proceedings, and leading projects for the development, archiving, and promotion of this genre of literature.

While in Europe the term "Digital Literature" is used to refer to Electronic Literature, in the U.S. digital literature is generally seen as print-based literary work digitalized for the web and stand-alone technologies like a CD-ROM. Examples of digital literature would include a copy of Homer's Odyssey found at The Perseus Digital Library or an electronic edition of Emily Dickinson's "manuscripts" at the Dickinson Electronic Archives. Put simply, Electronic Literature is considered a "born digital" art form with unique approaches to thinking about and working with digital technologies for the purpose of creating literary art.

Beginning a Study of Electronic Literature

In beginning a study of Electronic Literature, the best place to start is N. Katherine Hayles' book, Electronic Literature: New Horizons for the Literary, published by Notre Dame Press in 2008. The first chapter, especially, is helpful since it lays out its definition, provides a historical context for what she identifies as "generations" of works of electronic literature, identifies some of its genres, and cites examples of important works. A version of this chapter was first published online by the Electronic Literature Organization and is generally seen as "the first systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics, and other stakeholders" ("ELO Publications").

Those wondering why electronic literature is relatively unknown in a larger context may want to read the essay, "Electronic Literature: Where Is It?" by Dene Grigar, aimed as a companion to Hayles' essay. It suggests that differences in cognitive patterns between print and electronic works, assumptions of what constitutes the quality of "literariness," and even requirements for tenure and promotion contribute to its lack of presence in the academy. Additionally, Grigar further argues that as video games and other popular culture digital media forms mainstream into the academy, so too will Electronic Literature. Students inculcated from birth by digital media will ultimately be the final arbiters of its popularity and growth. The call to action found at the end of the essay has given rise to this Electronic Literature exhibit at the MLA 2012 Convention.

"Review of Close Reading New Media," by Jan Van Looy and Jan Baetens. Leonardo Digital Reviews. July 2004. Reprinted in Leonardo: Journal of the International Society for the Arts, Sciences and Technology 38.3 (2005).

"Review of Twisty Little Passages: An Approach to Interactive Fiction," by Nick Montfort. Leonardo Digital Reviews. June 2004. Reprinted in Leonardo: Journal of the International Society for the Arts, Sciences and Technology 38.2 (2005).